Elvis Richardson, (she/her) lives and works in Naarm, on the lands of the Wurundjeri people of the Kulin Nation.
2021 CV pdf
Treasuring the intimacies of ordinary lives, Elvis Richardson collects and curates personalised objects and imagery she extracts from public sources and re-constructs them as the raw materials of her studio practice. Her works employ kitsch and formalist approaches and mediums to comment on taste, class, the sublime and her own agency as an artist when also trapped in an aspirational exposure-based system of certain economic precarity.
Richardson’s objects and images disrupt the everyday commodification’s of lifestyle to satirically expose the promises, disappointments and contradictions that we all live with.
Recent exhibitions include Force Fields, Kyneton Contemporary Art Triennial (2018); Unfinished Business: Perspectives on art and feminism, Australian Centre for Contemporary Art, Melbourne (2018); Versus Rodin: Bodies across space and time, Art Gallery of South Australia (2017); CCP Declares: On the Social Contract, Centre for Contemporary Photography, Melbourne (2016); Octopus 15: Lost and Profound, Gertrude Contemporary, Melbourne (2015); and Transmission: Legacies of The Television Age, National Gallery of Victoria (2015).
Richardson has been the director of a number of artist run initiatives including First Draft (96/97), Elastic (99/00), Ocular Lab (08/10) DEATH BE KIND (2010/12) and True Estate (2017/18).
Richardson’s works are held in the collections of National Gallery of Victoria, Art Gallery of NSW, Artbank, City of Fremantle, Moreland Council and the Cruthers Collection of Women’s Art at University of Western Australia.
2021 CV pdf
Treasuring the intimacies of ordinary lives, Elvis Richardson collects and curates personalised objects and imagery she extracts from public sources and re-constructs them as the raw materials of her studio practice. Her works employ kitsch and formalist approaches and mediums to comment on taste, class, the sublime and her own agency as an artist when also trapped in an aspirational exposure-based system of certain economic precarity.
Richardson’s objects and images disrupt the everyday commodification’s of lifestyle to satirically expose the promises, disappointments and contradictions that we all live with.
Recent exhibitions include Force Fields, Kyneton Contemporary Art Triennial (2018); Unfinished Business: Perspectives on art and feminism, Australian Centre for Contemporary Art, Melbourne (2018); Versus Rodin: Bodies across space and time, Art Gallery of South Australia (2017); CCP Declares: On the Social Contract, Centre for Contemporary Photography, Melbourne (2016); Octopus 15: Lost and Profound, Gertrude Contemporary, Melbourne (2015); and Transmission: Legacies of The Television Age, National Gallery of Victoria (2015).
Richardson has been the director of a number of artist run initiatives including First Draft (96/97), Elastic (99/00), Ocular Lab (08/10) DEATH BE KIND (2010/12) and True Estate (2017/18).
Richardson’s works are held in the collections of National Gallery of Victoria, Art Gallery of NSW, Artbank, City of Fremantle, Moreland Council and the Cruthers Collection of Women’s Art at University of Western Australia.
Interdisciplinary Artist 2019
Collaged art magazine on box box 29x10cm Richardson is the founding editor of CoUNTess a blog publishing data on gender representation in the Australian visual arts sector.
The 2016 Countess Report was released in 2016 a sector wide bench marking data collection project, and which re-launched as Countess.Report in 2017 in collaboration with Amy Prcevich and Miranda Samuels and producing the updated 2019 Countess Report.